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MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945)."Manola", 1932.Patinated terracotta.Signed at lower left.Work catalogued in: Montserrat Blanch, "Manolo", Barcelona, Polígrafa, 1972, p. 98, no. 152.A bronze copy of this work is in the collection of the MNAC (Museu Nacional d'Art de Catalunya), number inv.010552-000, acquired at the Spring Exhibition in Barcelona, 1932.Marble base.Size: 24 x 13 x 8 cm (figure); 5 x 10.5 x 10.5 cm (base).Airy Manola, whose volumetric simplification manages, paradoxically, to give an idea of graceful movement, attesting to a great plastic mastery.Manuel Martínez Hugué, Manolo Hugué, trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings at Els Quatre Gats, he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theoreticians such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewellery and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, devoted entirely to sculpture, he worked in Ceret, where he brought together a heterogeneous group of artists including Juan Gris, Joaquín Sunyer and, once again, Picasso. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually depicted peasants, although he also depicted bullfighters and dancers - as can be seen on this occasion - always portrayed with a level of detail and an appreciation of textures that reveal his early training as a goldsmith. In his artistic production, Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia coexist with the European avant-garde, which he assimilated and knew at first hand, specifically Matisse's Fauvism and Cubism. Works by Hugué are kept in the MACBA, the Georges Pompidou Centre in Paris, the Museo Nacional de Arte de Cataluña and the Museo Nacional Centro de Arte Reina Sofía, among many others.

MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945)."Oxen in the stable, 1922.Ceiling in terracotta.Wooden frame.Model catalogued in: Montserrat Blanch, "Manolo", Barcelona, Polígrafa, 1972, p. 115, nº197.Size: 33.5 x 32.5 x 5 cm (terracotta); 42.5 x 42.5 x 6 cm (frame).In the catalogue raisonné on Manolo Hugué written by Montserrat Blanch, several works are reproduced (preparatory drawings, bas-reliefs in terracotta, but also in stone) whose subject matter are oxen (generally represented in pairs), of which the piece in question forms part. It is a production made between 1917 and 1923, a period when the sculptor was breathing new thematic and formal suggestions into terracotta. On his return to Ceret, after his Parisian period, he devoted himself to the study of cadences, rhythms, archaic-inspired essentialism... a series of strategies to escape from all stagnation and to renew the language of sculpture while continuing to dialogue with the classics. In this relief, a serene energy pulsates like an invisible force through the bodies, through the rounded profiles and alternating with geometric incisions. The front legs of the recumbent ox are bent to adapt to the angle, seeking a certain conceptual tension between the volumes and their confinement within a precise quadrangular limit. In doing so, he emulated the Greek art developed in the metopes. The spatial indication is brief and synthetic: a few schematic elements outline the idea of a stable.Manuel Martínez Hugué, Manolo Hugué, trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings at Els Quatre Gats, he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theoreticians such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewellery and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, devoted entirely to sculpture, he worked in Ceret, where he brought together a heterogeneous group of artists including Juan Gris, Joaquín Sunyer and, once again, Picasso. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed a member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually depicted peasants, although he also depicted bullfighters and dancers - as can be seen on this occasion - always portrayed with a level of detail and an appreciation of textures that reveal his early training as a goldsmith. In his artistic production, Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia coexist with the European avant-garde, which he assimilated and knew at first hand, specifically Matisse's Fauvism and Cubism. Works by Hugué are housed in the MACBA, the Georges Pompidou Centre in Paris, the Museo Nacional de Arte de Cataluña and the Museo Nacional Centro de Arte Reina Sofía, among many others.

JULIO VILA Y PRADES (Valencia, 1873 - Barcelona, 1930)."Portrait of a lady.Oil on canvas.It has a label on the back from the Galería Jorge Juan (Madrid).It has repainting and restorations.Measurements: 140 x 74 cm; 151 x 86 cm (frame).A neutral background focuses the attention of the spectator on the figure, while the colouring animates the face framed by the dark hair of the young woman, dressed with a white shawl embroidered with red flowers and a red dress whose flounces in the lower area infuse dynamism to the figure. The woman stands with a haughty gesture and a certain grace reflected in the mischievous expression on her face. This type of work was very common and appreciated in Spanish art from the 19th century until well into the 20th century. In which the creation of popular patterns portrayed through an idyllic vision where the author is influenced by a romantic aesthetic and heritage, developed during the second half of the 19th century and which derived in a localist conception of the landscape, in works that reflected the love for one's own land and the beauty and lyricism of the everyday, the close and the familiar.Julio Vila Prades trained at the San Carlos School of Fine Arts in Valencia, where his teachers were Joaquín Agrasot, Juan Peyró and Francisco Domingo Marqués. After completing his studies he moved to Madrid, where he attended Joaquín Sorolla's studio between 1893 and 1904. He regularly took part in the National Exhibitions of Fine Arts in the capital, winning honourable mentions in 1892 and 1897 and a second medal in 1904. The son-in-law of José Artal, the great promoter of Spanish painting in Buenos Aires, he travelled to Argentina in 1904. From there he visited various Latin American countries, where he received commissions for decorative painting such as the ceilings for the Tigery Club in Buenos Aires, the government palace in Tucumán and the Mar de Plata Club. During these years he also painted numerous portraits of personalities of the time. On his return to Spain in 1921, he decorated the ceiling of the Gran Kursaal in San Sebastián. He also worked as an illustrator and poster designer, particularly for Anís Fígaro, the Valencia July Fair (1900 and 1906). Julio Vila Prades is currently represented in the Prado Museum, the Fine Arts Museum of Huelva, the National Fine Arts Museums of Buenos Aires and Havana, the Municipal de Arte Tigre in Buenos Aires, the Historical and Military Museum of Chile, Valencia City Hall and the San Telmo Museum in San Sebastian, among others.

JOSÉ MARÍA SERT (Barcelona, 1874 - 1945).Mixed media on canvas.With restorations and slight flaws on the pictorial surface.Signed in the lower right-hand corner.Size: 125 x 200 cm; 128 x 202 cm (frame).Due to its composition and subject matter, this work is very reminiscent of the works carried out by José María Sert in the church of San Telmo. In 1930 the San Sebastián City Council commissioned José María Sert, on the recommendation of the painter Ignacio Zuloaga, to paint eleven canvases for the church of the convent of San Telmo, a Renaissance building that the municipal corporation had acquired twenty years earlier with the intention of converting it into a museum.Trained with Benito Mercadé and Pere Borrell, Sert was a member of the Círculo Artístico de Sant Lluc and later a disciple of A. de Riquer. In 1900 Torras i Bages commissioned him to paint a large mural decoration for Vic Cathedral, of which he presented sketches and preparatory canvases in 1905 and 1907 in Barcelona and Paris, of which this piece is an example. Through his exhibitions abroad, he soon acquired extraordinary prestige among the French and English aristocracy, for whom he produced sumptuous decorations. In 1908 he decorated the Sala de los Pasos Perdidos of the Palace of Justice in Barcelona, and in 1910 he presented the mural decoration of the ballroom of the Marquis of Alella (Barcelona) at the Salon d'Automne in Paris and decorated the music room of the Princess of Polignac in Paris. Two years later he exhibited an important group of works at the Salon in the French capital. In the following years he worked for Queen Victoria Eugenia (Santander) and for Robert Rotschild (Chantilly), and had solo exhibitions in London at the Agnew Gallery. In 1920 he married Maria Godebska, "Misia", a muse of the Parisian artistic scene, in Paris. He painted new murals for important houses in Park Lane (England), Buenos Aires, Palm Beach and Paris, and in 1926 he made, to great expectation, an exhibition of his works for the cathedral of Vic in the Jeu de Paume in Paris. In 1927, with the support of his friend and patron Francesc Cambó, he completed the main part of the cathedral's decoration, which was completed with the construction of the lunettes between 1928 and 1929. In 1930 he was made a member of the Academy of San Fernando, and in the following years he worked all over the world, painting important murals such as those in the Waldorf Astoria in New York, the chapel of the Palacio de Liria in Madrid and the Council Chamber of the League of Nations in Geneva. He was the most eminent decorative painter of his time, and his style was characterised by a great imagination at the service of a rhetorical language influenced by Goya's Orientalism and Expressionism.

JOSÉ MARÍA SERT (Barcelona, 1874 - 1945)."Calvari". Sketch for the epistle aisle in Vic Cathedral, 1925-1927.Mixed media on canvas.Attached Intitut Amatller d'art hispànic.Measurements: 120 x 120 cm; 140 X 140 cm (frame).-Bibliography:-Catàleg de l'exposició José María Sert; 1874-1945. (palacio de Velázquez; Parque del Retiro, Madrid, 27 Oct, 1987 - 3 Jan. 1988) Ministry of Culture Directorate General of Fine Arts and Archives, National Exhibition Centre.-Eduard JUNYENT; La decoració pictórica de la Catedral de Vich. Editorial Seráfica; Vic, 1936.-Alberto del CASTILLO; José María Sert, His life and work, Editorial Argos, Barcelona, 1947 (pp. 149 and 152, lams. 93 and 94).Although this work was commissioned in 1900, Sert did not present the first sketches until six years later, busy with the numerous orders he received from the aristocrats of the time. The First World War interrupted the work and once it was resumed, Sert felt he had to modify the approach, eliminating colour and therefore rethinking the perspectives in order to obtain depth. It was completed in 1929, but only seven years later it was destroyed. Shocked, Sert accepted the restoration of the cathedral, basing it this time on a set of bas-reliefs which he did not complete until the year of his death.José María Sert was one of the most sought-after and controversial painters of his time and one of the best Spanish muralists. Heir to the Catalan Renaixença and trained as a modernist, he developed a pictorial style outside the stylistic trends of his time. These characteristics make him a renovator of mural painting and a prolific artist who painted more than seven thousand square metres of cathedrals, palaces, great halls, private residences and town halls in various cities, but without doubt the work that was most present throughout his life was the decoration of Vic Cathedral.Trained with Benito Mercadé and Pere Borrell, Sert was a member of the Círculo Artístico de Sant Lluc, and later a disciple of A. de Riquer. In 1900 Torras i Bages commissioned him to paint a large mural decoration for Vic Cathedral, of which he presented sketches and preparatory canvases in 1905 and 1907 in Barcelona and Paris, of which this piece is an example. Through his exhibitions abroad, he soon acquired extraordinary prestige among the French and English aristocracy, for whom he produced sumptuous decorations. In 1908 he decorated the Sala de los Pasos Perdidos of the Palace of Justice in Barcelona, and in 1910 he presented at the Salon d'Automne in Paris the mural decoration of the ballroom of the Marquis of Alella (Barcelona) and decorated the music room of the Princess of Polignac in Paris. Two years later he exhibited an important group of works at the Salon in the French capital. In the following years he worked for Queen Victoria Eugenia (Santander) and for Robert Rotschild (Chantilly), and had solo exhibitions in London at the Agnew Gallery. In 1920 he married Maria Godebska, "Misia", a muse of the Parisian artistic scene, in Paris. He painted new murals for important houses in Park Lane (England), Buenos Aires, Palm Beach and Paris, and in 1926 he made, to great expectation, an exhibition of his works for the cathedral of Vic in the Jeu de Paume in Paris. In 1927, with the support of his friend and patron Francesc Cambó, he completed the main part of the cathedral's decoration, which was completed with the construction of the lunettes between 1928 and 1929. In 1930 he was made a member of the Academy of San Fernando, and in the following years he worked all over the world, painting important murals such as those in the Waldorf Astoria in New York, the chapel of the Palacio de Liria in Madrid and the Council Chamber of the League of Nations in Geneva. He was the most eminent decorative painter of his time, and his style was characterised by great imagination in the service of a rhetorical language influenced by Orientalism.

RAMON MARTÍ ALSINA (Barcelona, 1826 - 1894)."Cloister".Oil on canvas.Signed in the lower right corner.Slight damage to the frame.Measurements: 60 x 77 cm; 80 x 97 cm (frame).In this work Martí Alsina, offers us a vision of a cloister that could well be the one of the Cathedral of Barcelona, showing us the gothic architecture and the iron grilles, made by the best forgers of the time. All this is done with the brushstrokes and pictorial chromatisms of the great master of Catalan landscape painting.Considered one of the most important figures of Spanish realism, Martí Alsina was part of the European avant-garde of the time. He revolutionised the Spanish artistic panorama of the 19th century, was a pioneer of the study of life and the creator of the modern Catalan school, as well as the master of a whole generation, with disciples of the importance of Vayreda, Urgell and Torrescassana. He began his studies in philosophy and literature, alternating them with evening classes at the Barcelona School of Fine Arts until 1848. After completing this first apprenticeship and deciding to take up painting, he took his first steps in the Maresme region, where he began to earn his living by painting portraits in a naturalistic style and landscapes "à plen air". In 1852 he became a teacher of line drawing at the Escuela de la Lonja in Barcelona, and two years later he began to teach figure drawing, a post he held until the accession of Amadeo of Savoy to the throne. In 1853 he travelled to Paris, where he visited the Louvre and became familiar with the work of Horace Vernet, Eugène Delacroix and French Romanticism. Later he became acquainted with the work of Gustave Courbet, the greatest exponent of realism. In 1859 he was appointed a corresponding member of the Sant Jordi Academy of Fine Arts in Barcelona. His first important exhibition was the General Exhibition of Fine Arts in Barcelona in 1851. From then on he exhibited regularly in Barcelona, Madrid and Paris, and was invited to the Universal Exhibition in the French capital in 1889. His prizes included medals at the National Exhibitions in Madrid, third in 1858 for his work Last Day of Numancia and second in 1860 for his landscape. In his last years he lived in seclusion, focusing his efforts on the search for new forms of expression, with an undone brushstroke close to Impressionism. His subjects include numerous landscapes and seascapes, urban views (especially of Barcelona), portraits and human figures, genre scenes, temperamental female nudes, history painting and biblical scenes. He rarely devoted himself to still lifes, although he also painted some still lifes. Works by Martí Alsina are kept in the Prado Museum, the Thyssen-Bornemisza Museum, the National Art Museum of Catalonia, the Barcelona Museum of Contemporary Art, the Museum of the Abbey of Montserrat and the Museum of l'Empordà in Figueras.

MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945)."Bullfighter".Bronze on veined bronze base.Signed on the back.Size: 32 x 12 x 13 cm; 41 x 14 cm (total with base)."What we call immobility is nothing more than a limiting case of slowness in movement, an ideal limit that nature never achieves". This was written by the French philosopher Henri Bergson, and this same principle is what Manolo Hugué's sculptures materialise, as in the case of this bullfighter whose posture translates the dense tension of the instant.Manuel Martínez Hugué, Manolo Hugué, trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings at Els Quatre Gats, he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theoreticians such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewellery and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, devoted entirely to sculpture, he worked in Ceret, where he brought together a heterogeneous group of artists including Juan Gris, Joaquín Sunyer and, once again, Picasso. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed a member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually depicted peasants, although he also depicted bullfighters and dancers - as can be seen on this occasion - always portrayed with a level of detail and an appreciation of textures that reveal his early training as a goldsmith. In his artistic production, Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia coexist with the European avant-garde, which he assimilated and knew at first hand, specifically Matisse's Fauvism and Cubism. Works by Hugué are kept in the MACBA, the Georges Pompidou Centre in Paris, the Museo Nacional de Arte de Cataluña and the Museo Nacional Centro de Arte Reina Sofía, among many others.

JOAQUÍM MIR TRINXET (Barcelona, 1873 - 1940).Untitled.Three sketches. Pencil drawings on paper.Signed with testamentary seal.Size: 20 x 15 cm (large drawing); 54 x 54 cm (frame).Joaquín Mir studied at the School of Fine Arts of San Jordi in Barcelona and in the workshop of the painter Luis Graner. His style was also influenced by the School of Olot, his father's home town. He soon felt uncomfortable with the official teaching, which was anchored in a conception of realist painting, and so in 1893 he founded the "Colla del Safrà" with other colleagues (Nonell, Canals, Pichot, Vallmitjana and Gual) to explore together the pictorial initiatives of the end of the century. In 1896 they even participated as a group in the 3rd Exhibition of Fine Arts and Artistic Industries, to which Mir presented two works that give us a clear idea of the group's ideals: "La huerta del rector" ("The Rector's Vegetable Garden") and "El vendedor de naranjas" ("The Orange Seller"). Also, from 1897 he frequented the artistic environment of "Els Quatre Gats", where all the artists who were familiar with the European avant-garde gathered, which helped him to mature in the compositional study of landscapes with figures in different planes of depth. From this period are "Slopes of Montjuic" (1897) and "The Cathedral of the Poor" (1898), the two masterpieces of his youth. During these years he took part in the Fine Arts Exhibitions in Barcelona in 1894, 1896 and 1898. Winner of a second medal at the Madrid Exhibition of 1899, that same year he moved to the capital with the aim of applying for a scholarship in Rome. When he was unsuccessful, he went with Santiago Rusiñol to Mallorca, a trip that was to be a definitive turning point in his career. Mir was dazzled by the Mallorcan landscape, particularly that of Sa Calobra, which was an inexhaustible source of inspiration for him. From then on the artist deployed a whole combination of impossible colours, the result of his personal interpretation of the island's majestic nature. The brushstrokes grew longer and became stains that almost made objects and spatial references disappear. In 1901 he exhibited the fruit of this first Mallorcan period in a solo exhibition at the Sala Parés in Barcelona, and again won a second medal at the National Exhibition. After a period of illness that forced him to move to Reus, in 1907 he won the first medal at the International Exhibition of Fine Arts in Barcelona. From then on, settled in Camp de Tarragona, he did not move away from the landscape genre, but now it was the villages of the surrounding area that were the protagonists of his painting. Already established as a leading figure on the Catalan scene, he gained definitive national recognition in 1917, when he was awarded the National Prize for Fine Arts. Four years later he married and settled permanently in Vilanova i la Geltrú. His successes followed one after the other, and in 1929 he won the first medal at the International Exhibition in Barcelona. The following year he won the medal of honour at the National Exhibition in Madrid, a prize he had been after since 1922. Although he was mainly a native painter, he held solo and group exhibitions in Washington, Paris, Pittsburgh, New York, Philadelphia, Amsterdam, Buenos Aires and Venice. Mir is today considered the foremost representative of Spanish Post-Impressionist landscape painting. His work can be found in the Museo Nacional de Arte de Cataluña, the Museo del Prado, the Museo Thyssen-Bornemisza and the Museo Reina Sofía in Madrid, among many others.

Jacob Hendrik Pierneef (South African, 1886-1957)Eglise Saint-Jacques, Bruges dated and inscribed 'Eglise ST Jacques. Brugge. Nov. 1925' (lower left); signed 'Pierneef' (lower right)watercolour and charcoal on paper31.8 x 23.8cm (12 1/2 x 9 3/8in).(framed)Footnotes:ProvenanceThe collection of the artist's family;Thence by descent to the artist's grandsonThe present work was created in November 1925 during a year-long trip to Europe taken by Pierneef and his wife, May. The couple visited France, Germany, the UK, and the Netherlands, yet it was Bruges that provided the greatest source of inspiration for the artist. As Anton Hendriks, artist and director of the Johannesburg Art Gallery (1937-64), writes, '[i]t seems as if, as an artist, [Pierneef] feels most at home in the Flemish town of Bruges. Those who own any of the work he did there will see how well he understood it and interpreted it in his own way' (quoted in P.G. Nel, 1990: p. 135). Executed in charcoal and watercolour, the present work on paper depicts a street scene set in the Flemish capital. The leading lines of the road focalise the viewer's gaze on the pointed blue turrets perched atop the impressive Église Saint-Jacques. Built in 1240, but with substantial later additions made in 1459, the majesty of the medieval church epitomises the captivating beauty of Bruges which prompted Pierneef to momentarily abandon his beloved South African landscape for the European subject. Bibliography P.G. Nell, ed., JH Pierneef: His life and his work (Cape Town & Johannesburg, 1990)For further information on this lot please visit Bonhams.com

Abdoulaye Diarrassouba 'Aboudia' (Ivorian, born 1983)Untitled oil pastel, mixed media and collage on canvas99 x 118.2cm (39 x 46 9/16in).(unframed)Footnotes:ProvenanceAcquired from the Jack Bell Gallery, London, 2013;A private collection.In recent years, the exuberant artworks created by Abdoulaye Diarrassouba (more commonly known as Aboudia) have taken the art world by storm. The Ivorian artist trained at the School of Applied Arts in Bingerville and at the Institut des Arts in Abidjan. However, it is from the street and youth culture of Abidjan that he primarily draws his inspiration. Synthesising these local influences with imagery drawn from traditional West African sculpture and voodoo iconography, Aboudia names his distinctive stylistic approach Nouchi - a term more typically used to describe the language spoken in the urban centres of the Côte d'Ivoire which fuses Ivorian vocabulary with French. He describes himself as a passionate painter, using his work to respond directly to happenings within his urban milieu. The visceral emotion present in Aboudia's canvases has contributed to his international success.A singular depiction of Aboudia's signature ghoulish face dominates the left third of the present canvas. The word 'ART', scrawled in capital letters above the burgundy and black figure, evidences the influence of graffiti on the artist's distinctive aesthetic. The work can be dissected into multiple windowpanes depicting stick figures participating in events of everyday life; driving cars, sitting underneath the shade of an umbrella, or riding a horse. Articulated through Aboudia's energetic application of oil stick stop layers of collaged material, the work provides a lens into life in the capital city of the Côte d'Ivoire. Stating 'my paintings are the Africa of today', the Ivorian artist reclaims control of the representation of the continent as he draws upon the visual language of his urban environment.Today working between Abidjan and Brooklyn, Aboudia has cultivated a dedicated following through his distinctive painterly practice. Since his market debut with Bonhams in 2013, sales of Aboudia's work have grown exponentially, totalling just over £6 million in the last year. His work is held in important international collections, including those of Charles Saatchi and Jean Pigozzi. His international reach is reflected in his timely inclusion in the presentation of work at the Côte d'Ivoire pavilion at the 50th Venice Biennale (on view until November 2022).For further information on this lot please visit Bonhams.com

An Art Deco glass figure, nude dancing girl upon a sphere, blue scarf held above her head, 16.5cm; an early 20th century brass mounted opaque green glass smelling salts/scent bottle, applied with a souvenir view of a continental capital city, original stopper, suspension chain with finger loop, 6cm, boxed; an associated pair of continental double gourd bottle vases, sgraffito incised with colourful enamels, the tallest 15.5cm (4)

A marble urn shaped lamp base, 19th century, with reeded neck and rope twist to the shoulder, the body with swags of drapery and panelled lower half, atop a socle with acanthus leaf capital and rope twist base, to a stepped square base, converted for electricity, 44cm high excluding electrical fittings, together with a slender granite urn shaped lamp base, with waisted neck and panelled lower third, with two applied ring handles to the body, atop a socle and bevelled square base, converted for electricity, 53.5cm high excluding electrical fittings (2)It is the buyer's responsibility to ensure that electrical items are professionally rewired for useEach lamp in overall good condition with surface marks and dirt consistent with age.

A hand coloured woodcut Ptolemaic map of Central Asia north of the Himalayas, early 16th century, divided into "Scithia Extra Imaum" [Scythia Outside Imaum, home to the nomadic Scythian people] and "Serica Regio" [Silk Region], with a reference to "Antropophagorum" [cannibals] in the north, and "hippophagi" [horse eaters] in the northwest, climate notes down the right hand side, illuminated Latin text verso, probably published for a Lorenz Fries edition of "Geographia" (editions published in 1522, 1525, 1535 and 1541), 42cm x 57cm, unframed CONDITION REPORT:The map side shows bleed-through from the illuminated border and capital of the Latin panel verso, and further stain-through from the reinforcing strip applied verso.  There is a repair to the lower right corner of the paper, and soft pencil inscriptions to the top right and bottom right corners.  There is a fox mark approximately halfway down the right side of the paper, with further foxing, stain marks and areas of dirt across the paper, but most noticeably to the lower lower left and right corners.  The reverse of the paper is in a similar condition.

Capital Punishment.- Duff (Charles) A HANDBOOK ON HANGING second edition, 1938 § Kershaw (Alister) A HISTORY OF THE GUILLOTINE publisher's cloth, dust-jacket; and 2 others on torture (4)

A SET OF FOUR BRONZE LANTERNS, of octagonal tapering design. Each 77cm highProvenance: Formerly hung as street lamps on O’Connell Street, Dublin C.1960’s/70’sIn 1937 Dublin Corporation installed a new system of public lighting in the city centre of the capital. One scheme focused on the traffic route while the other was for the pedestrian throughfare. They enlisted the help of a Parisian foundry to carry out the commission. The specific demands of the footpaths required them to be hung from tall doubled armed lamp posts. Dark green in colour, they blended seamlessly into the surroundings while their height allowed for maximum illumination on the dark city streets. The new lights were erected on O’Connell St., D’Olier St., Trinity College, Nassau St., Dame St., and Westmorland St.In the 1970’s the lighting was once again changed by the corporation and these lanterns in the sale represent an important artefact of Dublin’s architectural history.

A SET OF FIVE BRONZE LANTERNS, of octagonal tapering design. 77cm highProvenance: formerly hung as street lamps on O'Connell St Dublin C.1960's/70'SIn 1937 Dublin Corporation installed a new system of public lighting in the city centre of the capital. One scheme focused on the traffic route while the other was for the pedestrian throughfare. They enlisted the help of a Parisian foundry to carry out the commission. The specific demands of the footpaths required them to be hung from tall doubled armed lamp posts. Dark green in colour, they blended seamlessly into the surroundings while their height allowed for maximum illumination on the dark city streets. The new lights were erected on O’Connell St., D’Olier St., Trinity College, Nassau St., Dame St., and Westmorland St.In the 1970’s the lighting was once again changed by the corporation and these lanterns in the sale represent an important artefact of Dublin’s architectural history.

FRANCIS WHEATLEY RA (1747-1801)The Ploughman: ‘And leaves the world to darkness and to me’Oil on canvas, 154.9 x 215.9 cmSigned ‘F. Wheatley pinxt’ and dated ‘1793’Provenance: The artist’s sale at his house at 14 Fitzroy Square, London, conducted by Mr James Christie, 13 January 1795 (lot 55, sold for £17 10s. 0d); James Daniell Esquire, his sale. Christie’s, London 25 February 1809, lot 83 as ‘The Plowman (sic), from Gray’s Elegy, landscape in the style of Gainsborough’ Christie’s 13 May 1960 (lot 39); Montagu Bernard 1969; Private collection, England, until sold Bonham’s London, 10 December 2003 (lot 15) where acquired by the family of the present ownerExhibited: London, Royal Academy, Summer Exhibition, 1793, number 114 where entitled Ploughing Literature: The Diary of Joseph Farington RA (ed. Garlick and Mcintyre, Yale University Press, 1978, volume II, p. 291), under 13 January 1795: ‘Wheatley’s drawings and pictures were sold today. The pictures sold low. A large picture of Plough Horses in a frame which cost 20 Guineas [i.e. £21.00 when exhibited at the Royal Academy] sold for £17.10’;Sale Catalogue: A catalogue of all the Capital Pictures, Valuable Drawings and other curious articles, the property of FRANCIS WHEATLEY, Esq., RA at his house Situate, No. 14, on the West Side of RUSSELL PLACE, FITZROY SQUARE Which will be sold at Auction by MR CHRISTIE, On the premises, On Tuesday, 13 January, 1795, At Twelve o’clock;Mary Webster Francis Wheatley (Paul Mellon Foundation for British Art / Routledge and Kegan Paul, 1970), illustrated page 104; Catalogue of the Oil Paintings, number no. 107, page 150, and also text pages 201 and 206.Famous in an Irish context for the modern ‘history paintings’ including the large work showing the Volunteers at College Green, Francis Wheatley was born in London in 1747, and died in the same city in 1801. He was initially self-taught, but subsequently trained at Shipley’s Academy. He won prizes for drawing at the Society of Artists in 1762-3, and was admitted to the Royal Academy Schools aged 22 in 1769. He worked as an assistant to the Royal Academician John Hamilton Mortimer in painting the Saloon ceiling at Brocket Hall, Hertfordshire, in 1771-1773. From 1778 onwards he exhibited regularly at the annual exhibition of the Royal Academy, being made as associate in 1790 and a full member the following year.Wheatley seems to have been incompetent with money, and was frequently in debt, despite numerous commissions. He moved from London to Dublin to escape his debtors (and with somebody else’s wife). Working here from 1779 to 1783, he painted numerous highly accomplished paintings. As the painter of suave portraits, accomplished landscapes and depictions of Irish rural life, Wheatley has an importance for art in Ireland far greater than the relative brevity of his visit might suggest; he contributed to Thomas Milton’s topographical enterprise, involved himself in the voguish pursuit of antiquarianism and, later, was among the artists involved in James Woodmason’s attempt to encourage Irish history painting. (William Laffan, in Art and Architecture of Ireland, Vol. 2, 503)His masterpiece of these years is the remarkable The Irish House of Commons, 1780, now in the City Art Gallery, Leeds, which depicts a vast series of faithful portraits of all the members of Grattan’s Parliament in the chamber of the Irish House of Commons.Wheatley was a versatile painter, executing straightforward portraits, conversation pieces, genre paintings and theatrical illustrations. He seems to have taken a particular interest in the depiction of rural life particularly from the 1780s onwards, and executed such pictures as ‘The Industrious Cottager’, ‘The Return from Market’ and ‘Evening, a Farmyard’. The present painting is the culmination of this series and was painted in 1793. About this date the artist began to suffer from a debilitating attack of gout, which ultimately left him virtually unable to hold a paint brush. The last few years of his life saw a distressing descent into poverty, though he was frequently helped by his fellow Royal Academicians.Wheatley at his best shows a remarkably fluidity and freedom of expression in his oil paintings, though his drawings are much more tightly controlled. Along with George Morland, he is the most accomplished English painter of the ‘rural scene’. His range, though, is much wider than that of Morland, and some of his conversation pieces rank with those of his friend and fellow-academician Johann Zoffany.As Christie's catalogue of the collection of James Daniell in 1809 points out, the present painting has profound literary overtones. It is described there as ‘from Gray’s Elegy’ with the ‘landscape in the style of Gainsborough’. The opening lines of Thomas Gray’s (1716-1771) masterpiece, An Elegy Written in a Country Churchyard set the tone for the picture:The Curfew tolls the knell of parting day,The lowing herd winds slowly o’er the lea,The ploughman homeward plods his weary way,And leaves the world to darkness and to me.The poem is the literary precursor of, and counterpoint to, the English artistic movement at the end of the eighteenth century which moved away from the ‘grand manner’ of Reynolds and his followers to depict the attractions of rural life and domestic genre in a sympathetic manner. Picking up on a tradition pioneered by George Stubbs, the paintings of Morland, Wheatley and James Ward are, in their gentle way, revolutionary. They rely on acute observation of, and empathy with, the ‘virtuous poor’ and evoke the simplicity and stoicism of their way of life which was unimaginable in British painting of a generation earlier. While many of the images of these paintings are obviously ‘moral’ in their intent, they are not hectoring or cloying as so much Victorian ‘sentimental’ painting would become. Instead, works such as this prefigure the quiet depiction of rural labour of later French artists such as Jean-François Millet and Jules Breton. The subject matter is treated as ‘picturesque’, in the sense that it is worthy of being rendered in oil on canvas, but it is not mawkish or theatrical. Here, for almost the first time in British art, we have a dispassionate depiction of the activities of the rural agricultural workers, as Gray put it in his poem ‘the short and simple annals of the poor’. Wheatley’s treatment of the plough-team is entirely sympathetic and the grandeur of the conception and the very large size of the canvas contrasts with the modesty of the subject matter to query assumption of hierarchy and privilege.Condition Report: Good presentable condition Restored, relined canvas, ready to hangSee additional images

A reconstituted capital, moulded with cherubs and acanthus leaves, 31cm high, 39cm wide**Please note that some of the lots in this auction are held offsite and others may require specialist lifting equipment therefore please ensure collection arrangements are made prior to making any journey to the saleroom. Many thanks**

20th Century Art: eight titles including Masters of Colour: Derain to Kandinsky, 80 Masterpieces from the Merzbacher Collection, Royal Academy 2002 and Paris: Capital of the Arts 1900-1968 (10) CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

Pair of German 'Dudley & Co' white glazed porcelain column-shaped stands with printed green marks, patent 2720, reg no. 495683, impressed numerals, each with ridged supports at top, above foliate moulded capital, on fluted column stands, 18.5cm high and a pair of Continental porcelain white glazed shell-moulded vases on tripod dolphin supports, late 19th century, with impressed numerals 1929/0 to bases, 14.5cm high (4) 

DELTA "ARMA DEI CARABINIERI" FOUNTAIN PEN.Resin and silver barrel.Limited edition, 0005/1814.Bicolour 18 Kts gold nib, tip F.No box.Measurements: 14 cm length; 16.2 mm diameter.The Limited Edition Delta "Arma dei Carabinieri" was created to honour the Italian institution of the same name, created in 1814, being therefore older than Italy itself, whose founding act would not arrive until 1860.Made from special blue resin, hand-turned from a solid block, it is adorned with red rings, reproducing the colours of the Carabinieri uniform.On the crown is a solid silver button with the anagram of the brand at that time, consisting of a capital letter "D", and the cap is dressed with a solid silver shirt with a flame on one side and the coat of arms of the "Arma dei Carabinieri" on the other, with the part number on the dividing panel between the two; the clip is typical of the period used by Delta, with a rolling ball.The barrel is adorned with another solid silver sleeve on which we can see the engravings "CARABINIERI" and "1814 - 1998"; the nib is the so-called Millenium, in 18 carat gold, two-tone, by application of selective platinum plating and the lever-loading system, on the surface of which we can read "EDIZIONE 1998".

The ex-Robert Dunlop, Isle of Man TT-winning c.1988 Honda RS125 Racing MotorcycleFrame no. RS125RF 88 10441Engine no. RE88 10451•Winner of the 1989 IoM TT Ultra-Lightweight Race•Present ownership since 2010•Not used since acquisition•Offered from an extensive private collectionSadly, Ireland lost another of its great road-racing heroes in 2008 when Robert Dunlop, brother of the late Joey, succumbed to injuries sustained in practising for the North West 200. Born on 25th November 1960, Robert Dunlop learned his craft on short circuits before making his road-racing debut in 1979. He celebrated his first visit to road-racing's Isle of Man capital in 1983 with a win in the Manx Grand Prix Newcomers' Race and scored his first TT win in 1989 in the 125cc event riding the machine offered here. For the next few years Robert Dunlop owned the 125 TT, winning in 1990 and 1991 to cement his reputation as one of the finest riders the Ultra Lightweight class has ever seen. He also won the Junior TT in 1991.In 1994 Robert sustained serious leg injuries in the Isle of Man during practice for the TT when the rear wheel of his Honda RC45 collapsed. The legacy of his injuries would restrict Robert to mostly riding 125s from then onwards. In 1997 he returned to the TT, finishing 3rd in the Ultra Lightweight race and the following year scored a fairytale win in the same event, which would be the last of his five TT victories. Robert's fatal accident occurred on 15th May 2008 when the engine of his 250 Honda seized and he was thrown from the machine. His sons William and Michael Dunlop were both racing at the North West and the following day Michael scored an emotional win in the 250 race. The Honda RS125 we offer was purchased for Robert Dunlop by his sponsor, Andy McMenemy, having previously been raced by Phil McCallen. It was on this machine that Robert made his Isle of Man TT debut in 1989 in the Ultra Lightweight race. Robert broke Bill Ivy's old lap record on his standing start lap and on his final tour circulated at an average speed of 103.02mph to win by 15.8 seconds from Ian Lougher. The current vendor purchased this ex-Robert Dunlop Honda at Bonhams' Stafford sale in October 2010 (Lot 351). The machine had been offered for sale by a private collector, its owner since 1990, and has been kept as part of the vendor's extensive private collection for the last 12 years. The machine has not been run since purchase and will require thorough re-commissioning should the fortunate next owner wish to return it to the racetrack. Offered without keyFootnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.For further information on this lot please visit Bonhams.com

A GILT METAL CHERUB TABLE LAMP. early 20th century, on an onyx base and gilt mounted onyx column, the underside of the column capital signed 'A.G', total height on column to top of fitting 173cm. * Gilt losses throughout, general knocks, wear , chips and splits, needs rewiring. **BP 22.5% inc VAT + Lot Fee of £8

Capital and beam fragment. Mozarabic, 11th century.Carved wood.Measurements: 15 x 57 x 10 cm. (beam); 33 x 24 x 24 cm.(capital).Acanthus leaves with symmetrical leaflets are characteristic of Mozarabic art, as can be seen in this capital. In Mozarabic architecture it was common to use the column as a support, crowned by a Corinthian capital decorated with highly stylised vegetal elements. The beam is also carved with synthetic vegetal fretwork, in this case reducing the fleur-de-lis or lily to a geometric pattern of interlacing. Mozarabic art was developed by the Hispanic Christians who lived in Muslim territory in the period from the Muslim invasion (711) to the end of the 11th century, preserving their religion and a certain ecclesiastical and judicial autonomy.

Capital; Italy, 15th century.Carved plaster.The carving is damaged.Measurements: 36 x 41 x 38 cm.Gothic style capital made of carved plaster with a truncated cone shape, with the base smaller in perimeter than the upper part. Despite the faults caused by the passage of time, the piece retains a very deep relief, which allows us to appreciate the representation of a human figure, which, from her hair, seems to be a woman. The details are still visible, particularly the latticework of the neck of the tunic and the curls that form in her hair, showing delicate trepano work. The back of the piece is not worked, thus indicating the ornamental function of the capital, which in many cases was intended solely as a decorative element, as a finishing touch to the mouldings or ribs of the large columns.The Gothic capital gradually lost its importance as the period of the style progressed. After the transitional period in which the Romanesque capital is followed, it takes the form of a somewhat conical drum embraced by foliage whose motifs are taken from the flora of the country and crowned by a circular or polygonal abacus with various mouldings. Subsequently, the capital becomes smaller and more delicate, and finally, it is eliminated when in the 15th century the bundle of reeds branches out directly into the ribs of the vault without any solution of continuity in many cases or remains in the form of a simple ring.

A CARVED AND WHITE-PAINTED WALL MOUNT 19th century, in the form of a composite capital, 17cm high x 29cm wide x 15cm deepProvenance: The Richard Pratley Collection of English Furniture, Naïve and Folk Art.

A large vellum manuscript leaf of music and chant, probably from an antiphoner, in colours, with an illuminated capital 'D', six lines, 67 x 48.5cm (framed)

Guckkastenkupfer.: Madrid. "A General View of the City Madrid the Capital of the Kingdom of Spain". Gesamtansicht über die Brücke li., mit fig. Staffage im Vordergrund. Kolor. Guckkastenkupfer, Ldn. (u. wohl Daumont, Paris) 1760. 22,5 x 36,5 cm. Nr. 35 ob. li. - Weißer Rand stärker stockfl., ein kl. Riss am Rand. R

Athena's Companion by Megan Johnson. Sponsored by Willis Towers Watson. Artist:              Megan Johnson.Megan has been a graphic designer for three years since graduating from Norwich University of the Arts. She assisted a local school with two previous sculpture trail designs, and was delighted to have the opportunity to design and paint this owl.In Greek mythology, Athena, the warrior goddess of wisdom, was accompanied by an owl. Owls were considered the protector of armies and an omen of victory in battle. Megan's owl is clad in gold and intricate feather-like armour, as befits a companion of the gods.https://www.instagram.com/majdesign/Sponsor:         Willis Towers Watson This sculpture is sponsored by Willis Towers Watson - a leading global advisory, broking and solutions company that helps clients around the world turn risk into a path for growth. With roots dating to 1828, Willis Towers Watson has 45,000 employees serving more than 140 countries and markets. We design and deliver solutions that manage risk, optimize benefits, cultivate talent, and expand the power of capital to protect and strengthen institutions and individuals. Our unique perspective allows us to see the critical intersections between talent, assets and ideas – the dynamic formula that drives business performance.https://www.wtwco.com/en-GB

PABLO PICASSO (1881-1973)Femme assise et gentilhomme dated '10.11.70.' (lower right)brush, pen, India ink and wash on paper23.7 x 31.8cm (9 5/16 x 12 1/2in).Executed on 10 November 1970Footnotes:The authenticity of this work has been confirmed by Claude Picasso.ProvenancePrivate collection, France (a gift from the artist circa 1970-1973).Heinz Berggruen Collection, Paris and Berlin (acquired from the above). Anon. sale, Sotheby's, London, 9 February 2005, lot 214. Private collection, UK (acquired at the above sale).ExhibitedSan Francisco, John Berggruen Gallery, Picasso, The Berggruen Album, 4 March – 10 April 2004, no. 19 (later travelled to New York).'Every painter takes himself for Rembrandt' – Pablo PicassoFemme assise et gentilhomme is an exquisite work on paper by Pablo Picasso. Representing two of the most defining subjects of his oeuvre, the artist's model and the musketeer, this work is an iconic example from Picasso's mature period and stands testament to the artist's desire to confirm his place alongside the greatest painters of the Western art historical canon. In the final years of Picasso's life, swashbuckling seventeenth century mousquetaires occupied the artist's output. Immediately identifiable by the long pipe, broad brimmed hat and imperial moustache, the musketeer in the present work is highly evocative of Golden Age portraiture, most notably that of Rembrandt - an artist whom Picasso deeply revered. The musketeer would come to operate both as a signifier of the great Old Masters and as a psychological substitute for the artist himself.In the mid-1960s, Picasso, whilst recovering from surgery, devoured literary classics such as Shakespeare, and Alexandre Dumas' The Three Musketeers. Simultaneously, Picasso studied Otto Benesch's landmark publication of Rembrandt's drawings, as there was a revived interest in the great master on the occasion of the three hundredth anniversary of his death. Picasso grew fonder of Rembrandt's work and saw an opportunity to dive into the mind of his mighty predecessor. A projection of the Night Watch appeared on the walls of his studio, through which Picasso was able to transport himself into the adventurous world of chivalrous noblemen. Like Rembrandt, Picasso was also keen on inserting himself into his works, taking on various guises and approaching his output with a brilliant sense of wit and skill. He increasingly started to relate to the Dutch master, and throughout the final chapter of his life, Rembrandt's artistic universe remained an important source of inspiration for Picasso, as if Rembrandt was 'an all-powerful God-figure whom Picasso had to internalize before he died' (J. Richardson quoted in Late Picasso, exh. cat., Tate, London, 1988, p. 34).In Femme assise et gentilhomme, Picasso subtly disrupts the traditional power dynamics between artist and subject. The musketeer and model behold each other with an uncompromising gaze, but the imposing and elevated position of the female subject lends her a regal air, while the musketeer archetype adopts a more submissive, courtly persona. It is a subtle homage to some of Picasso's earliest works from his artist and models series, which are known to represent Rembrandt and his wife Saskia. The present work was originally part of a sketchbook containing twenty-six drawings which were executed over a period of eight days in November 1970. Completed wholly in India ink, Picasso underscores his mastery of the medium in the present work and thereby affirms his position as one of the greatest draughtsmen of the twentieth century. Alongside its art historical significance, the present work is also distinguished by an exceptional pedigree. Femme assise et gentilhomme was once owned by Heinz Berggruen, an art dealer but - most of all – a close friend to the artist and a passionate collector. He acquired Femme assise et gentilhomme from a private French collection and kept it in his personal collection until his death. Berggruen made a name for himself as a gallery owner in Paris in the post-war era. Originally born into a German-Jewish family, Berggruen lived in Berlin until his early adulthood before fleeing to the US in 1936 where he would spend nearly a decade, holding various artistic positions at public institutions and art journals. After Europe's liberation, he decided to return to the continent and settled in the French capital in 1947. He started a gallery and found his true calling as a dealer. Berggruen quickly ranked as one of the most prominent figures within Parisian artistic circles, with artists like Van Gogh, Cézanne, Matisse, Klee, Arp and Giacometti included in his stable. Picasso, however, would have more impact on Berggruen than any other and would become of great significance to the art dealer, both personally and professionally. The artist entered Berggruen's world in 1951, having already enjoyed a sixty-year long career and celebrated as one of the most famous artists alive. Introduced through their mutual friend Tristan Tzara, Berggruen met Picasso in his studio on the rue des Grands-Augustins. Berggruen recalled that 'in physical terms alone, Picasso was an impressive sight. His wonderful, clear-cut face, his magnificent, large, magnetic eyes, his stocky, athletic body – it was as if every part of him had been cast from the same mould, as if he were his own, self-created masterpiece. During our very first encounter I already found myself enchanted by this man' (H. Berggruen, Highways and Byways, Guildford, 1996, p. 184).After their first encounter, a lifelong friendship was born, and Picasso was added to Berggruen's roster of artists. It marked the beginning of a collecting journey for Berggruen, during which he found some of the finest works and collections from the artist's all-embracing oeuvre. One of the most notable collections that passed through Berggruen's hands was Gertrude Stein's collection of Blue and Rose Period works. To this day, Stein is widely regarded as the first collector to champion Picasso's work. Berggruen's gallery became a hub for American collectors and was frequently visited by influential figures such as Alfred J. Barr and Nelson Rockefeller. For Berggruen, collecting and selling often went hand in hand: 'In my days as an art dealer I was always looking for ways to perfect, enrich and consolidate my Picasso collection. Or, to put it differently, over some thirty years some of the most significant Picassos passed through my hand, and I was all too often confronted with the decision as to whether I should see or keep a drawing, a watercolour of a painting' (H. Berggruen, op. cit., p. 179).On his frequent visits to Picasso in the South of France, Berggruen would bring Picasso news 'from the big world outside' and show Picasso his latest trouvailles. Their last encounter took place in 1969, but Berggruen would remain under the great artist's spell well after that. In the span of thirty years, Berggruen amassed a profound and carefully selected body of works, spanning from the Blue Period all the way through to 1973, the year of Picasso's death: 'by consistently and persistently collecting Picasso's works, I attempted to create an impression of the cosmos of this man, who, like no other, carried within him the lebensgefühl (life-feeling) of an entire century' (H. Berggruen, op. cit., p. 184).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

SIR JAMES LAWTON WINGATE RSA (SCOTTISH 1846 - 1924),AN ORCHARD IN AUTUMNoil on canvas, signed and dated '82, titled label versoimage size 42cm x 32cm, overall size 67cm x 56cm Framed. Partial handwritten label verso.Note: Born at Kelvinhaugh near Glasgow in 1846, Wingate's career as a boy clerk in a Glasgow commercial house was overshadowed by his taking drawing lessons in the early morning before work. Ruskin's Modern Painters and Elements of Drawing were a stimulus to him, as was the Pre-Raphaelite tradition, as seen in Scotland in the paintings of Waller Paton. From pencil studies, he constructed watercolour drawings which he exhibited for the first time in 1864 at the Glasgow Fine Art Institute. The appreciation he received for his work induced him to give up all thought of a commercial career and with £70 as his savings, he went on a six months' tour of Italy (1867-68), where he studied the works of the great masters and for the first time painted directly from nature. The tour resulted in the production of about 150 watercolour drawings. After his return to Scotland he based himself in Hamilton for about five years. The neighbouring Cadzow Forest, beloved by Sam Bough and Alexander Fraser, gave him the opportunity of careful study of tree forms, of which he made excellent use in later life. He then moved on to Edinburgh, where he studied at the RSA Schools. The turning point in his career came through meeting Hugh Cameron at Comrie, in Perthshire, in the autumn of 1873. Cameron was a genial and helpful critic. Wingate sturdily defended his work as being true to fact; Cameron's reply "I feel the work to be wrong and art is not an affair of argument, it is an affair of feeling" struck him with irresistible force. In 1874 he went to Muthill, near Crieff, in Perthshire, painting rustic subject matter such as 'The Wanderers' and 'The Quoiters', which drew public attention. 'The Wanderers' ensured his election to Associate rank in the Academy. From 1880-86 he made Muthill his home and in the later years he gained full membership of the Academy. Later he moved to Colinton and afterwards to Slateford, both in the vicinity of Edinburgh and 1913 he came to the capital. Thereafter he came increasingly under the influence of William McTaggart and his style became much more free, although with the same affection for the Scottish Countryside. The sky as the source of light, treated by so many painters in a perfunctory way is with him all-important. He exhibited at the RA from 1880 but showed mainly at the RSA from 1865. He became President of the RSA in 1919, resigning shortly before his death in Edinburgh, aged 77. There are three distinct periods in Wingate's career: early, post 1873 and late career (post 1913). Collectors are most motivated by his work from the mid period (post 1873) when the artist created a superb body of work and examples from this period appear at auction infrequently. However, in the most recent Scottish Pictures Auction (27th April 2022) lot 207 "The Hayrick" dated 1883 (by Wingate) sold for £3200 (hammer). "An Orchard in Autumn" is a little smaller than "The Hayrick" but it's an exceptionally fine example of the work of Sir James Lawton Wingate at the very peak of his talent.

* JOHN MACLAUCHLAN MILNE RSA (SCOTTISH 1885 - 1957),GARDENS, PARISoil on board, signed and dated '22image size 35cm x 45cm, overall size 46cm x 56cm Framed. Label verso: Doig, Wilson, & Wheatley, Edinburgh. Note: A rare Paris painting from 1922 when Milne lived in the French capital. Seeing Cezanne's work for the first time was a eureka moment for Milne who until then had painted much like his father in a sedate and traditional style. He discovered a completely new freedom and walked the streets and sights of Paris painting what he saw, en plein air and with rapid, bold brush strokes. Above all, he discovered ''colour''. This very distinct Paris period saw Milne producing some of his most spontaneous and desirable work and usually on smaller-scale artist boards. By 1922/3 he had moved to the French village of Lavardin and by 1924 he was in Cassis with Peploe, Cadell and Duncan Grant. Milne is often referred to as ''the fifth Scottish Colourist'' and yet his quality is at least the equal of much of the output of the other four. As well as enjoying the company of the Scottish Colourists and exhibiting alongside them, Milne shared many of their patrons. William Boyd, the Managing Director of Keiller’s marmalade firm, became one of his most important patrons. In Boyd’s home at Claremont, several works by William McTaggart, Peploe, Hunter and Milne were displayed. His collection of French paintings included Monet, Sisley, Van Gogh, Matisse, Bonnard, Vuillard and de Segonzac. Alexander Keiller, head of the marmalade firm, was another important patron. He paid Milne a stipend – so that he could spend the summers in France – in return for paintings. The collector, Matthew Justice, was a close friend of George Leslie Hunter as well as being his agent during the 1920s. Justice owned around a dozen of Milne’s paintings; his sitting-room was hung exclusively with works by Peploe and Milne and his drawing-room contained eleven Peploes, three Marchands, one Hunter and five Milne’s. The Justice collection also included works by Vuillard, de Segonzac, Moreau and Matisse. Justice was friends with William Boyd and James Tattersall, another important patron of Milne. Even though Milne's paintings were widely exhibited in his lifetime at the very best venues to great success, it's probably because he never established a long-term relationship with any one gallery or dealer that his paintings have been undervalued for many years. It took until 1987 before the first Milne painting reached the £20,000 mark at auction when ''Busy Paris Street Scene with Figures (1922)'' was sold by Christie's, Glasgow (lot 664, 28th April 1987 £20,000 hammer). The John Maclauchlan Milne Estate is now represented by Tom Hewlett's Portland Gallery (London) and unsurprisingly, his profile and values have been growing. A major exhibition ''Milne And The Colourist Connection'' was staged at Portland Gallery (London) 21st September -13th October 2017. On 30th August 2017 we sold "A Paris Scene (a 35cm x 26.5cm oil on panel) for £25,000 (hammer) and In The Scottish Pictures Auction of 27th April 2022, lot 213 "Cafe, Paris" (a 25.5cm x 34cm oil on board by Maclauchan Milne sold for £30,000 (hammer). Both examples being from the same period (1920 - 1922) when John Maclauchlan Milne walked the streets of the French capital and cemented his place as one of Scotland's finest painters of the 20th century.

Denham (Dixon & Hugh Clapperton). Narrative of Travels and Discoveries in Northern and Central Africa, in the Years 1822, 1823, and 1824, by Major Denham, Captain Clapperton, and the late Doctor Oudney. Extending across the Great Desert to the Tenth Degree of Northern Latitude, and from Kouka in Bornou to Sackatoo, the Capital of the Fellatah Empire, 1st edition, London: John Murray, 1826, engraved portrait frontispiece, folding map, 36 engraved plates and maps, including one hand-coloured aquatint, some light offsetting and toning, modern morocco-backed marbled boards, spine faded, 4toQTY: (1)

* Jukes (Francis). Canterbury, Jany. 31st. 1790, aquatint with contemporary hand-colouring, title and descriptive text below image, both repeated in French, slight creasing, 380 x 490 mm, mounted, together with Middiman (Samuel). West View of Oyster-Mouth castle and Village, F. Jukes, 1792, aquatint by and after Samuel Middiman with contemporary hand-colouring, 275 x 380 mm, mounted, with Bowyer (R.). Chepstow Castle, 1805, aquatint after P. De Loutherbourg with contemporary hand-colouring, 295 x 375 mm, mounted, plus Millar (George Henry, publisher). A General View of the City & Castle of Edinburgh, the Capital of Scotland, circa 1780, hand-coloured engraving, 210 x 310 mm, mounted, and Burton (J. B.). Whitby, circa 1920, uncoloured etching, signed and titled by the artist in pencil below the image, 275 x 195 mm, mountedQTY: (5)

[Reisch, Gregor. Margarita Philosophica nova cui insunt sequentia ..., Strasbourg: Joannem Grueninger, 1512], numerous woodcut illustrations throughout including some full-page, woodcut initials, many initials with guide letters or blank and many with a simple capital letter in pen or pencil added at a later date, lacks folding world map and folding woodcut plate, also lacks title within woodcut border and 10 leaves from the Margarita (D3-6, Q1,5, e3-6) and 2 leaves from the Appendix (H4 & L1), four of those leaves Q1r, Q5r, H4r & L1v with full-page woodcuts, woodcut on X5r with old yellow and brown hand colouring, scattered old annotations and marginalia, some spotting, soiling and occasional old damp staining, a few paper repairs to first and last leaves slightly affecting text and illustrations, closely trimmed with occasional shaving of side-notes, final leaf verso (blank) relaid, 19th-century blind-stamped morocco gilt, rubbed, 4to (185 x 135 mm) QTY: (1)NOTE:Adams R335; Durling 3850; Sabin 69127 (without Appendix); Smith, Rara 82; V.D. 16, R1038.Originally published in 1508 this is the sixth edition of what is considered the first printed encyclopaedia. Divided into twelve parts in the form of dialogues between a master and scholar, the first part contains a Latin grammar, the remaining parts comprising chapters on Logic, Rhetoric, Arithmetic, Music, Geometry, Astronomy, Astrology, Natural History, the Immortality of the Soul. Leaf b5 shows the oldest printed illustration of the structure of the eye.

A Pflueger Capital No 1898 multiplying reel, together with a Garcia Mitchell 624 multiplier and two fixed spool sea reels.

Japan, Empire, War Medal 1904-05, bronze, with clasp; War Medal 1914-15, bronze, with clasp, suspension crudely broken, with clasp detached but present; War Medal 1914-20 (2), bronze, both with clasp; Allied Victory Medal, bronze; Red Cross Membership Medal (4), silver; bronze (2); aluminium, the first two lacking ring suspension; Taisho Enthronement Medal, silver with gold appliqué; Capital Rehabilitation Commemorative Medal, silver, a number contained within the original balsa-wood boxes of issue; together with a large number of reduced-sized awards; lapel badges; and other miscellaneous items, generally very fine (lot) £120-£160

JESSIE MARION KING (1875-1949) (ILLUSTRATOR) MUMMY'S BEDTIME STORY BOOK, BY "MARION", FIRST EDITION, 1929 colour illustrations including 14 full-page by Jessie M. King; also THE ENCHANTED CAPITAL OF SCOTLAND, by Isobel K. Steele, pub. Plaid, Edinburgh; and HOW CINDERELLA WAS ABLE TO GO TO THE BALL, London, G T Foulis [1924], 1st edition; together with a BOOKPLATE FOR CHARLES D. EDWARDS BY JESSIE M. KING, printed paper, 14.8cm x 10.5cm

Silver J W Benson open face silver pocket watch with silver double Albert watch chain and silver fob. Approx weight 5.9oz. (B.P. 21% + VAT)Some wear to case and minor dents.  Face appears good.  Not ticking at present!  London hallmarks and capital 'I'.  

VICTOR MIRA (Zaragoza, 1949 - Munich, 2003)."Baselitz-Beuys", 1982.Oil on paper.Signed, dated and titled.Enclosed certificate of authenticity issued by Esther Romero Fajardo.Measurements: 38 x 27 cm; 55 x 45 cm (frame).Painter, sculptor, engraver and writer, his training was basically self-taught. At the age of eighteen he had his first individual exhibition in the N'Art gallery in Zaragoza, which was also the first open-air sculpture exhibition held in that city. Shortly afterwards he moved to Madrid, where he exhibited in 1973 at the Pol Verdié gallery. During his years in the capital he attended the Encuentros de Pamplona, where he met John Cage. Two years later, in 1974, Ana María Canales published her book "Víctor Mira, eres mi pintor preferido" (Victor Mira, you are my favourite painter). In 1975 she travelled to Heidelberg, where she lived for five months, and that same year she published "El libro de las dos hojas". In 1976 he began to work in Germany on his series "Spanische Haltung" and "Manos". After spending some time between Madrid and Germany, in 1977 he settled in Barcelona. There he began his cycle of paintings "Interiores catalanes con tomate", and in 1979 he published his first book of poems, "El bienestar de los demonios". That same year he had his first solo exhibition in Munich, at the Tanit gallery, and the following year he showed his work in the United States, at the George Staempfli gallery in New York. From then on his international career took off, with exhibitions in Germany, the United States, Holland, Switzerland, Sweden, Norway, Colombia, France, Belgium and Austria, while he continued to exhibit regularly in Spain. In 1983 he travelled to the United States for the first time, invited by the Meadows Museum in Dallas, and that same year he worked in the printmaking workshops of the Southern Methodist University in Dallas and spent five months in New York. Also in 1983, in Barcelona, he produced his first series of iron sculptures, "Cultura del arco" and "Mediodías". In 1997 he was invited to participate in the Art Biennale in New York by Amy Chaiklin, and six years later, shortly before his death, he was awarded the prize for the best living Spanish artist at the ARCO Fair. The most recent retrospective exhibition devoted to this artist was held in Düsseldorf, Germany, at the Beck & Eggeling gallery. Works by Mira are held in museums and private collections all over the world, including the Museum of Modern Art in New York, the Museo Nacional Centro de Arte Reina Sofía, the MACBA in Barcelona, the Fine Arts Museums of Vitoria and Zaragoza, the Beulas Foundation in Huesca, and the Museo Colecciones ICO in Madrid, among others.

FRANCISCO BORES LÓPEZ (Madrid, 1898 - Paris, 1972)."Nature morte au citron", 1969.Gouache on paper.With label on the back of provenance: Galería Ignacio Lassaletta.Signed and dated in the lower right corner.Measurements: 49,5 x 59,5 cm; 81 x 98 cm (frame).In 1969 Bores was already a consolidated artist, with an established and mature artistic career. However, the political circumstances in Spain meant that his work was unknown, except in the professional artistic circles of the country. In 1969, the Galería Theo in Madrid held an exhibition dedicated to the painter, thus bringing him closer to the Spanish public. In this work Bores offers us an interior scene made up of a synthetic aesthetic in its forms, with large planes of colour that seem to start from abstraction to become a concrete object, a circle becomes a plate, a rhomboid shape becomes a lemon and some simple lines are the stems of some flowers, in such a way that Borés proposes an intellectual exercise to the spectator's gaze. Thanks to the use of schematic plastic elements, the artist manages to create a tactile effect and a visual purity free of any artifice or anecdotal detail.Francisco Borés trained at Cecilio Pla's painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz and Joaquín Peinado, among others. He also frequented the literary gatherings in Madrid associated with ultraism. During this period he made engravings for a large number of magazines, such as "Horizonte" and "Revista de Occidente", and attended Julio Moisés's Academia Libre, where he coincided with Dalí and Benjamín Palencia. In 1922 he took part for the first time in the National Exhibition of Fine Arts, and three years later he showed his work at the first Exhibition of the Society of Iberian Artists, but the Madrid public's lack of interest in young art prompted him to leave for Paris. In the French capital he came into contact with Picasso and Juan Gris, and made his individual debut in 1927. The following year he held his first solo exhibition in the United States, and in 1930 he exhibited again, this time as part of a group show at the Museum of Modern Art in New York. During the following years he continued to hold solo exhibitions at leading galleries in Paris and London, including the Georges Petit and Zwemmer galleries. After the Second World War he resumed his exhibition activity, and in 1947 the French state acquired a work by Borés for the first time. In 1949 his paintings were bought by the Museum of Modern Art in New York. In 1969 he exhibited at the Galería Theo in Madrid, which brought him closer to the Spanish public, who were practically unaware of his work except in professional circles where, on the other hand, it was highly appreciated. In 1971 he exhibited again at the same Galería Theo, and died in Paris in 1972. The critic Joaquín de la Puente points out several stages in Borés's production: renewed classicism (1923-25), neo-cubism (1925-29), fruit-painting (1929-33), interior scenes (1934-1949) and white style (1949-69). Francisco Borés is represented in leading museums all over the world, including the Centre Georges Pompidou in Paris, the Fine Arts Museums of Bilbao, Buenos Aires, Jerusalem, Gothenburg and Baltimore, the MOMA in New York, the Museo Nacional Centro de Arte Reina Sofía, the National Galleries of Athens, Brno and Edinburgh, the Museo Patio Herreriano in Valladolid, and the Modern Art Museums of Stockholm, Turin and Madrid.

MIQUEL BARCELÓ (Felanitx, Mallorca, 1957)."Bestiaire", 1990.Lithography on Velin paper. Copy 8/26.Published by Talleres Item, Paris.Signed and numbered at the bottom.Size: 45 x 33 cm; 48 x 36,5 cm (frame).A painter and sculptor, Barceló began his training at the School of Arts and Crafts in Palma de Mallorca, where he studied between 1972 and 1973. In 1974 he made his individual debut, at the age of seventeen, at the Galería Picarol in Mallorca. That same year he moved to Barcelona, where he enrolled at the Sant Jordi School of Fine Arts, and made his first trip to Paris. In the French capital he discovered the work of Paul Klee, Fautrier, Wols and Dubuffet, as well as "art brut", a style that was to exert an important influence on his first paintings. During these years he reads extensively, and is enriched by works as diverse as the writings of Breton and the surrealists, Lucio Fontana's "White Manifesto" and Arnold Hauser's "Social History of Literature and Art". In 1976 he held his first solo exhibition in a museum: "Cadaverina 15" at the Museum of Mallorca, consisting of a montage of 225 wooden boxes with glass lids, with decomposing organic materials inside. That same year, back in Mallorca, he joined the Taller Lunàtic group and took part in its social, political and cultural protest actions. In 1977 he made a second trip to Paris, and also visited London and Amsterdam. That same year he exhibits for the first time in Barcelona, and meets Javier Mariscal, who becomes one of his best friends in the city. Together with him and the photographer Antoni Catany, as a member of the group "Neón de Suro", he takes part in exhibitions in Canada and California, and collaborates with the publication of the magazine of the same name. It was also in 1977 that he received his first large-scale painting commission: a mural for the dining room of a hotel in Cala Millor, Mallorca. The following year, at the age of twenty-one, he sold his first works to some collectors and galleries, and finally moved to Barcelona. His international recognition began in the early eighties, giving a definitive boost to his career with his participation in the São Paulo Biennial (1981) and the Documenta in Kassel (1982). In 1986 he was awarded the Premio Nacional de Artes Plásticas, and since then his work has been recognised by the most important awards, such as the Prince of Asturias Award for the Arts (2003) and the Sorolla Prize of the Hispanic Society of America in New York (2007). Barceló is currently represented in the most important contemporary art museums in the world, such as the MoMA in New York, the Centre Pompidou in Paris, the Guggenheim in Bilbao, the Marugami Hirai in Japan, the Reina Sofía in Madrid, the Patio Herreriano in Valladolid, the CAPC in Bordeaux, the Carré d'Art in Nimes, the Museum of Contemporary Art in Caracas and the Museum of Fine Arts in Boston, among others.

RAFAEL ZABALETA FUENTES (Quesada, Jaén, 1907-1960)."Untitled. Paris, 1950.Ink on paper.Signed, dated, located and dedicated in the lower part.Size: 31 x 24 cm; 45 x 38 cm (frame).Born into a well-to-do family, Rafael Zabaleta showed his interest in painting from an early age, so after finishing his high school studies he moved to Madrid and entered the San Fernando School of Fine Arts in 1925. His teachers there were Lainez Alcalá, Cecilio Pla and Ignacio Pinazo, and in 1932 he took part for the first time in a group exhibition, that of the San Fernando students. One of his works, entitled "La pareja" ("The Couple"), was selected to illustrate the critical review by Manuel Abril for the magazine "Blanco y Negro". Three years later Zabaleta made his first trip to Paris, where he studied the works of the masters of contemporary painting. In 1937 he was appointed delegate of the National Artistic Treasury, and also around this time he began a series of drawings on the Civil War. At the end of the war he was denounced and briefly spent time in the Higuera de Calatrava concentration camp and in Jaén prison, where his two albums of drawings made during the war were confiscated. Finally freed, in 1940 he settled in Madrid, where he attended the gatherings at the Café Gijón and drew and painted at the Círculo de Bellas Artes. Two years later he visited Aurelio Biosca, director of the Madrid gallery Biosca, with a letter of introduction from the sculptor Manolo Hugué. There he held his first individual exhibition that same year, after being rejected at the National Exhibition of Fine Arts. However, the following year he took part in the First Salón de los Once and became a member of Eugenio d'Ors's Academia Breve de Crítica de Arte, to which Biosca also belonged. Zabaleta took part in most of his Salones de los Once and anthological exhibitions. In 1945 Zabaleta took part in the group exhibition "Floreros y bodegones" held at the National Museum of Modern Art, while he continued to exhibit individually and collectively in galleries in the capital. In 1947 he held his first personal exhibition in Barcelona, at the Argos gallery, and his first monograph was published. Two years later he travelled again to Paris, coming into contact with Picasso, Óscar Domínguez, M. Ángeles Ortiz and others. The year of his definitive consecration was 1951, when he held a solo exhibition at the Museum of Modern Art in Madrid. In 1955 he won the UNESCO Prize at the Hispano-American Biennial in Barcelona. That same year he took part in the Mediterranean Biennial held in Alexandria, and held a solo exhibition in Bilbao. During his last years, Zabaleta became a fully recognised artist, invited to the most important exhibitions and salons both in Spain and in foreign cities of the importance of Paris. The most important collection of his work is to be found in the Zabaleta Museum in Quesada, although it is also present in the most prestigious museums in the world, in cities such as Buenos Aires, New York and Tokyo.

A Continental carved, parcel gilt and painted standard lamp in Neoclassical style, early 20th century,: with conical metal uplighter shade above two more electrical fitments; the knopped, spiral carved and fluted stem descending from a foliate carved capital to a circular base on three scrolled feet; 178cm high overall

FRANCISCO LOZANO SANCHÍS, (Antella, Valencia, 1912 - Valencia, 2000)."Old Mediterranean poppies", 1997.Oil on canvas.Signed in the lower left corner. Signed, dated, dedicated and titled on the back.Size: 23 x 28 cm, 33 x 38 cm (frame).Painter, teacher and member of the Royal Academies of Fine Arts of San Fernando and San Carlos, Francisco Lozano was interested in painting from his youth, and at the age of sixteen he began his training at the Academy of San Carlos in Valencia. He later continued his studies at the Residencia de Pintores de La Alhambra, and after the Civil War he began to make a name for himself. His career would take off in the 1940s, when he began to exhibit regularly in Madrid and other cities. In the capital he was welcomed by Eugenio d'Ors, whose hand in hand he exhibited at the Estilo gallery, and who put him in contact with the artistic and intellectual circles of Madrid at the time. A primarily Mediterranean painter, his work focused from the outset on landscape, although he evolved from the initial influence of Sorolla towards a more personal language, although equally sensitive to light and colour. His is a synthetic, ordered and austere landscape, completely modern. Between 1951 and 1952 he travelled to Paris on a grant from the French government, and on his return his recognition was completed with the first prize at the National Exhibition of Fine Arts. That same year he was also a great success at the Venice Biennale. From then on he combined his artistic practice with teaching at the San Carlos Academy, where he held a teaching post from 1955 to 1977. At the same time, he held important exhibitions in Spain, South America, the United States, Germany and the United Kingdom, among other countries, mainly in Mediterranean Europe. Lozano was an honorary member of the Círculo de Bellas Artes (1952), a member of the Valencian Council of Culture (1986) and doctor honoris causa of the Polytechnic University of Valencia (1994), and in 1993 a major retrospective exhibition was devoted to him at the IVAM. His work is currently held in museums such as the Reina Sofía in Madrid, the Fundación Mendoza in Caracas, the Camón Aznar in Zaragoza, the IVAM in Valencia and the Fine Arts Museum in Montevideo, among others.

Economics.- Colquhoun (P.) A Treatise on the Wealth, Power, and Resources, of the British Empire, in every quarter of the world ..., scattered spotting, ex-library with bookplate and occasional ink-stamps, contemporary boards, rebacked, small gouge from fore-edge of lower board, rubbed, bumping to corners and extremities, 1814 § Shaw (Bernard) Prefaces, first edition, decorative title, original cloth, slight bumping to spine extremities, 1934 § Robbins (Lionel) The Economic Problem in Peace and War, half-title, lacking front free endpaper, original cloth, slight bumping to corners and extremities, dust-jacket, chipping to edges, small loss to corners and spine extremities, a little rubbed, 1947 § Wilson (Right Honourable James) Capital, Currency, and Banking, second edition, half-title, previous owner's ink name-stamp to title, lightly browned throughout, cracked upper hinge, original cloth, a little rubbed, bumping to corners and extremities, 1859; and others similar, including a collection of pamphlets, v.s. (c.140)

A PAIR OF GEORGE III GREEN PAINTED AND PARCEL GILT SIDE CHAIRS IN THE MANNER OF GILLOWS, C.1790 the hoop back with a fan shaped splat with carved reeded, flowerhead and rope twist detail and painted harebell swags above a serpentine stuffed-over seat, the slightly splayed and moulded front legs carved with a leaf capital and harebells (2) Catalogue Note For a pair of unpainted chairs with hoop backs and similarly carved and splayed legs, see Christopher Gilbert, Furniture at Temple Newsam House and Lotherton Hall, p.95, pl.85.

A commemorative bronze medal for the 600th anniversary of the founding of the Lithuanian capital city of Vilnius, by Petra Rimsa, obv. Grand Duke Gediminas, rev. Gediminas castle, 4.5cm wide

Brian, a bronze figure of a flautist, circa 1920, modelled as a nude woman dancing on an inverted column capital, on square marble base, signed in cast, 24.5cm high

Capital Japanese porcelain Imari dish with garden/peonies/gold decor. With contoured border. Dimensions: Ø 56 cm. In good condition.

Two capital 18th century Chinese porcelain Family Rose lidded vases with blue glaze + floral/bird and gold decor. One lid chip + figure reattached. Both vases have a hole in the bottom for power wire. Otherwise in good condition. Dimensions: H 70 x Ø 34 cm.

Two very rare capital Chinese gilt bronze/cloisonne candlesticks with ram's heads/floral decor + bottom mark. Dimensions: 79 x 36 x 36 cm. In good condition.

Capital 18th century Japanese Arita porcelain vase with Kilin, garden/floral and gold decor. Dimensions: H 60.5 cm. In good condition.

Capital 19th century Japanese porcelain Imari dish with dragons/figures/bird of paradise/grasshopper/gold decor et cetera. With bottom mark. Edge restoration. Dimensions: Ø 63.5 cm. In fair/good condition.

Capital 18th century Chinese porcelain Family Rose dish with rooster in garden/gold decor. Glued + damaged. Dimensions: Ø 38 cm. In moderate condition.

Capital German porcelain Potschappel Dresden show vase. Hand painted + embellished flower decor. 20th century. Minimal damage to flowers. Dimensions: H 60 cm. In fair/good condition.

An Edwardian silver oil lamp by the Goldsmiths and Silversmiths company, London 1907, in the Adams style with foliate tapered column with a Corinthian capital, surmounted by a cut glass reservoir, on a square stepped base with beaded borders and husk swags, base filled, total height 50 cmLocation: BWR

A tail clock with moon indication, double cap with copper spheres crown, 1st half 19th century. Mahogany case, twisted pilasters with brass Corinthian capital and base as styles, polychrome decorated dial with a fantasy landscape with church at the top, silver-plated dial ring with Roman and Arabic numerals indicates the hours and minutes, the movement with alarm and striking mechanism on the whole and the half hour, l 170 cm.

An ebonised glued column mantel clock, France, Napoleon Trois, ca. 1870. Capital and base with applications in floral motifs, white enamel dial with black Roman numerals, gilded frame with relief in volutes and fitted with a ditto flower garland, h 47 cm (damages) .

A capital octagonal earthenware vase with lid, Friesland, Makkum, 20th century. Plychrome floral decor, marked: Makkum, model no. 460, h 53 cm, tot. 2x.